120 years after the filming of King John by Herbert Beerbohm Tree in 1899, which inscribed Shakespeare on celluloid for the first time; thirty years after the release of Kenneth Branagh’s Henry V (1989), which triggered the fin-de-siècle wave of screen adaptations; twenty years after the publication of Kenneth S. Rothwell’s seminal History of Shakespeare on Screen (CUP, 1999) and twenty years after The Centenary
Shakespeare on Screen Conference organized by José Ramón Díaz at the University of Málaga in September
1999, which constituted “Shakespeare on Screen” scholars into an international academic community, time
has come to gather together again to reflect on the evolutions of both our objects and methods of study.

The “Shakespeare on Screen in the Digital Era” International Conference invites scholars worldwide to
explore the consequences of the digital revolution on the production, distribution, dissemination and study of
Shakespeare on screen. Since the 1999 Málaga conference, the rise (and fall) of the DVD, the digitalization
of sounds and images allowing us to experience and store films on our computers, the spreading of easy
filming/editing tools, the live broadcasts of theatre performances in cinemas or on the Internet, the
development of online video archives and social media, as well as the increasing globalisation of production
and distribution (raising the question of technological availability worldwide), have changed the ways
Shakespeare is (re)created, consumed, shared and examined. Shakespeare’s screen evanescence and his
transfictional and transmediatic spectrality have blurred the boundaries between what Shakespeare is and is
not, leading us to question our own position as scholars who keep spotting, constructing and projecting “Shakespeare” in audiovisual productions.

We invite seminar proposals (international pairs or trios of convenors are welcome) and panel
proposals (featuring 3 short contributions) exploring the screen afterlives of Shakespeare’s works in the
digital era all over the world, revisiting the Shakespearean “classics” as they have been re-released in
various formats, examining how the technological and aesthetic issues intersect with questions of gender,
class, ethnicity and ethics, and interrogating more theoretically what “is” and “is not” Shakespeare on
screen. Seminar proposals (including a 400-word presentation and a short bio for each convenor) and panel
proposals (including three 300-word abstracts and three short bios)